Shakespeare's Sonnets: With Three Hundred Years of CommentaryThis is a collection of the scholarship of dozens of commentators who have written about Shakespeare's sonnets over the past 300 years. The text details how the poems work and how they may be interpreted. |
From inside the book
Results 1-5 of 54
Page 11
... Elizabethan sonneteers had a long tradition on which to draw . Their poetry was deliberately imitative , an attempt to show off their ability to create something new within the con- straints of a conventional form . That form included ...
... Elizabethan sonneteers had a long tradition on which to draw . Their poetry was deliberately imitative , an attempt to show off their ability to create something new within the con- straints of a conventional form . That form included ...
Page 12
... Elizabethan son- net was made .... With good reason Sir Philip Sidney warned the public that " no inward touch " was to be expected from sonneteers of his day . . . . At a first glance a far larger proportion of Shakespeare's sonnets ...
... Elizabethan son- net was made .... With good reason Sir Philip Sidney warned the public that " no inward touch " was to be expected from sonneteers of his day . . . . At a first glance a far larger proportion of Shakespeare's sonnets ...
Page 20
... Elizabethan grammar . One may not always agree with Simpson's analyses , but his major tenet that differences in punctuation may be due to variations in accepted practice , rather than to cor- ruption of the text , can be ignored only ...
... Elizabethan grammar . One may not always agree with Simpson's analyses , but his major tenet that differences in punctuation may be due to variations in accepted practice , rather than to cor- ruption of the text , can be ignored only ...
Page 22
... Elizabethan practice was little more consistent than for spelling or punctuation . However , Moxon ( 1683-84 , 216 ) states that , in addition to proper names , " Words of great Emphasis are also Set in Italick , and sometimes begin ...
... Elizabethan practice was little more consistent than for spelling or punctuation . However , Moxon ( 1683-84 , 216 ) states that , in addition to proper names , " Words of great Emphasis are also Set in Italick , and sometimes begin ...
Page 25
... Elizabethan accent . Glosses and Commentary All modern editors have had the advantage of having access to the enormous amount of work done by the lexicographers of the late nineteenth and early twentieth century . Their glosses are ...
... Elizabethan accent . Glosses and Commentary All modern editors have had the advantage of having access to the enormous amount of work done by the lexicographers of the late nineteenth and early twentieth century . Their glosses are ...
Contents
31 | |
Appendix 1 Editions Referenced | 378 |
Appendix 2 Emendations | 380 |
Appendix 3 Extant Copies of the 1609 Quarto | 383 |
Bibliography | 384 |
General Index to Introduction and Commentary | 393 |
Index of First Lines | 401 |
Other editions - View all
Common terms and phrases
Abbott Alden beauty BEECHING beloved beloved's Booth notes Burto citation cites collated editors collated texts comma commentary to Sonnet compositor compositorial error couplet doth DOWDEN dropped letter Dunc Duncan-Jones Elizabethan emendations in collated end of line Evans explains eyes felfe feminine endings giue gloss Harbage hath haue heart iambic iambic pentameter iambs Ingram and Redpath Kerrigan line 11 line 9 liue loue MALONE meaning metaphor meter mistress modern moſt Onions pause phrase poem poet poet's POOLER praiſe punctuation Quarto quatrain reader Redpath note refers rest rhyme Rollins notes says scansion Schmidt second quatrain ſee seems sense Seymour-Smith Shakespeare ſhall ſhould Sonnet 18 Sonnet 29 Sonnet 33 Sonnets 40 speaker spondee ſtill substantive emendations suggests sweet syllable thee theme thine things third quatrain thoſe thought tone trochee trochee-iamb Tucker Vendler verse Willen and Reed Wils Wilson word WYNDHAM